Cabinets

Slightly arched top that may have held a bust at some point, over a middle section with drawers with reverse painted panels with scenes of ancient towns and ruins with a central mirr...

Dutch oak glazed top, two part display cabinet with bold moldings, astragal glazed glass panes surmounted by carved leaf moldings extending into the top cresting frame of the shaped ...

We are delighted to offer for sale this very fine Burr Walnut & Brass George II circa 1740 Library Bureau Bookcase with campaign handles A very good looking and well made piece, ...

An Italian neoclassical period walnut demi-lune cabinet from the 18th century with yellow marble top. Created in Italy during the 18th century, this demi-lune cabinet features a semi...

Period late 17th / early 18th century French oak credenza cabinet. Paneled cupboard doors with drawers above. Original hinges and hardware. Origina...

Georgian mahogany corner cabinet A late 18th to early 19th century Georgian mahogany glazed corner cabinet. The cabinet has a si...

Georgian Mahogany collector's cabinet An 18th century Georgian mahogany three drawer collector's cabinet. The cabinet has a single box wood inlaid door with a working lock and ...

A rare 18th century Italian walnut chest / credenza, Renaissance Period, neoclassical influenced, having two elaborately carved figural statue c...

18th Century Dutch Oak Corner Cupboard A late 18th century Dutch bow fronted wall hanging oak corner cupboard. The cupboard is unusual in that it has two tambour fronted compar...

Tan France Auction Pick Mid-century Scandinavian elegant e very raffinate dark wood cabinet with interior shelves and height-adjustable drawers, Dan...

A fine English mid-18th century mahogany secretaire / secretary / bookcase / china cabinet. Of lovely, deep, rich color, patina and quality. George III period, circa 1760. The bold, detachable, swan-neck pediment carved with 'Gothic' open fretwork, spiral rosettes and a dentil cornice. The pediment is centred by a small platform below which is a fluted panel. The bookcase / china cabinet section with two, thirteen-pane glazed doors, with three original adjustable shelves with applied beadings for the display of china etc. The base with a pull-out writing section fitted with small drawers, two of which have secret releases. These secret drawers are faced with blind-fret 'Gothic' tracery, and centred by a carved, shaped arch. The base with three cock-beaded drawers, and raised on its original bracket feet which are faced with blind fret. This fine, sophisticated and well-proportioned example of a secretaire / secretary / cabinet / desk / bookcase is remarkable for having survived in its original state including all swan-neck handles and locks. Of superb quality, color, patination, and well figured throughout. With mahogany drawer linings: further confirmation of its quality. Measures: 42" wide (107 cm) 23" deep 58.5 cm) 95" high (241 cm) - without cartouche. A related antique bureau cabinet...

A very impressive mahogany bureau cabinet / bookcase / secretary*, with secret compartments. In the manner of Giles Grendey (1693-1780). In mahogany and parcel gilt. Mid-18th century, George II period. This English bureau cabinet displays fine, deep, rich colour and superb surface patination throughout. The top section with a broken-arch pediment and dentil cornice. The frieze well carved with Gothic arcaded blind fretwork. Centred by a later urn-shaped finial. The cabinet with two carved parcel-gilt gesso bordered ogee shaped doors. Old but apparently later mirror plates enclosing a fitted interior with eight drawers and adjustable shelves. The cleated fall, with its original lock, now fitted with a wine red, gilt-tooled writing surface revealing an exceptionally high-quality arrangement of canopied drawers and pigeon holes. The interior is centred by an arched, architectural over door...

Rare 17th Century Neapolitan Ebony Tortoiseshell and Mother of Pearl Cabinet From the Perego Collection in Monza, an important 17th Century Italian arch...

This exquisite early 18th century bureau bookcase is finely crafted in the Queen Anne style with dramatic form and burled walnut veneered ...

An Italian walnut, parquetry bureau cabinet fruitwood inlaid with scrolling foliage, The upper section with a shaped carved cresting, a shaped doors opening to reveal three shelves, ...

Georgian Inlaid Mahogany Bureau A late 18th to early 19th century Georgian mahogany bureau with later marquetry, satinwood and box wood inlays. The bureau has four graduated oa...

Exquisite antique english oak 18th century Georgian era chest of drawers~~brass lion pulls with upper shelf and gallery~~pre-1800 A must have~~gorg...

A beautiful and most decorative Italian mid 18th century Genovese st. hand painted cabinet/desk. The desk is raised by lovely scalloped serpentine shaped supports below two lovely ha...

Rare carved Renaissance cabinet Period : 2nd half 16th century, ca. 1570 Origin : France, Burgundy or Languedoc This cabinet embody the produ...

Dutch wall display cabinet in marquetry of 18th century in mahogany and boxwood and with boxwood and mahogany marquetry floral decorations, with colum...

This Renaissance Cabinet reveals the great mastery of the Lyon workshops which are at the origin of its realization. Sculptors and wood-carvers worked here in symbiosis to express an...

The Middle Ages dresser is a piece of furniture divided in two parts. The bottom part is open while the upper part is full and closed. The upper part is decorated with an abundanc...

18th English century oak cupboard/dudarn or court cupboard. Having a moulded cornice top above an overhanging frieze. Turned pendant buns with small finia...

18th century Swedish late Baroque Corner cabinet from Lulea Norrbotten, Northern Sweden. A genuine and rustic cabinet with two doors. ...

A two door armoire with decorative carved shell motif. The doors with chicken wirework details, opening to reveal a shelved interior. Acquired from a private collection. This is a co...

We are delighted to offer for sale this absolutely exquisite and important antique George II circa 1740 Mulberry wood drinks cabinets depicting eagles he...

An important, grand scale, and wonderfully aged example of an Italian inginocchiatoio. The piece originally meant for storing reliquaries, books, and kneeling in prayer has a rectang...

As soon as 1540 France's second Renaissance is in the making, intimately linked to the rediscovery of the Antique world. The development of the printing and engraving industry allows the spread of artworks and models in many cities and countries. The Italian influence can be perceived in every artistic field. While the French king entrust the most talented Italian artists with major projects such as Il Rosso or Primaticcio in Fontainebleau, French artists also travel to Italy to form themselves to this new style. In Italy they get acquainted with the work of Leo Battista Alberti the first to theorize perspective (De Pictura, 1435-36) and architecture (De re oedificatoria, 1541). Those two publications would have a revolutionary impact on arts. Furniture is marked by the work of the most famous Italian architects of the time as well as French architects. Indeed Philibert de l'Orme competes with Alberti and by the end of his life publishes several treaties including one devoted to a theory of architecture (1567). Unfortunately he would not live to complete the second volume. In this treaty he expresses his interest for mathematical norms applied to architecture, copied from the Antique. His journeys in Italy allowed him to accumulate the most sophisticated references. Jean Bullant, another architect of great talent also theorizes his practice. He establishes rules characterizing Greco-Roman art staying faithful to Vitruvius. Following this new inspiration the structure of furniture evolves. From then on appear columns, capitals, cornices, friezes and architraves. The ornamentation uses this inspiration as well with egg-and-dart, palm leaf and rose adorning the most beautiful pieces. In Lyon, crossroad where meet merchants from everywhere those new experiments are welcomed. Lyon florishing printing industry allows the spreading of models and treaties essential to the artist's work. Thus the first publication of Vitruvius' De Architectura in France would be printed in Lyon in 1532. Artists from Lyon rediscover and familiarize themselves with the Antique knowledge very early. They adopt those new ideas and use them in their own creations. Lyon cabinet-makers re interpret Antique architecture and Italian Renaissance palaces to give their pieces a pure and harmonious architectural structure. Grooved pilasters are particularly favored. They are topped by capitals of diverse orders always respecting the sequencing with simpler ones for the lower levels and the richest ones on the higher levels. As for the ornamentation, one of the great distinctiveness of Lyon workshops remains the architectural perspective illusions, drawing inspiration from Tuscany. True masterpiece of the Second French Renaissance this important cabinet illustrates Lyon workshops' taste for fine Italian architecture inspired by Antiquity. An architectural perspective of great quality is treated in symmetry on each panel. This two-bodied cabinet without recess stands on four rectangular feet. The base comprises a molding, a palm leaf frieze and is bordered by a braid. The lower body is divided by three grooved pilasters with Tuscan capitals framing two door-leaves. The two panels are encircled by a moudled frame with palm leaves. They are finely carved with a decor of fantasized architecture depicting an Italian Renaissance palace erected symmetrically on each side of a grooved pilaster. On the ground floor a door opens through a stilted arch while the stories are opened with mullioned windows, dormers and occuli. Two large pegged-boss cladded pillars support the entablature enriched by a palm leaf frieze upon which stands an arch whose coffered intrados is centred by a rose. Behind this arch a pyramid appears, standing in front of a second facade with a window topped by a broken curvilinear pediment under a cul-de-four with a shell. The checker flooring gives depth to the low-reliefs creating vanishing points structuring the panels and guiding the eye of the observer. A thin laurel braid highlights the belt of the cabinet where are located two drawers. Their facades are adorned by palm leaves in hoops. The upper body is encircled with palm leaves. The same ternary division as in the lower body appears. However, the pilasters are topped by Ionic capitals with volutes and egg-and-dart. The door-leaves are framed with flowers. On the panels the artist has designed another architectural decor. On the foreground open two arches on top of grooved pilasters with rectangular capitals adorned with palm leaves. The arches are enriched with braids and the coffered intrados bears a decor of roses. The spandrels also bear a flower decor. In the background another arcature hosts a fluted grooved column topped with double basket acanthus capital, characteristic of Corinthian order. The triangular pediment is interrupted by a choux bourguignon. A large cornice crowns the cabinet. It stands on pilasters and forms an entablature comprising a palm leaf frieze and an egg-and-dart, triglyph and palm leaf cornice. The cabinet's sides have also been carefully considered. The lower body's panels are enriched with an arch rising above a broken pediment portico hosting a twisted column. Flowers garnish the spandrels. An architectural facade completes the decor. The upper body's panels present two arches supported by a facade opened with dormers and mullioned windows as well as cartouches (one bears the inscription 1580 dating the cabinet) suggesting the interior of an Italian Renaissance palace, confirmed by the chandeliers. The flooring leads our gaze to a second arch with a broken curvilinear pediment where stands a flower vase. This arch opens onto a perspective of another facade along a road. Inside the cabinet, on the lower body door-leaves appear two designs. On the right door is depicted a Crucifixion. Saint Mary and Saint John flank the Christ on the cross. In the bottom part is inscribed « Dure uiator abis nihil haec spectacula curas / Pendenti cum sis unica cura Deo. / Tota suo moriente dolet natura Magistro. / Nil qui solus eras caussa dolenda doles. ». The signature [Christoff Swartz Monachiensis pinx[it] / Ioa[nnes] Sadeler sculp[it]] tells us it was made by Johan Sadeler I (1550-1600) after Christoph Schwartz (1548-1592). This engraving belongs to an ensemble depicting the Passion of Christ Johan Sadeler executed in 1589 after an altar piece painted by Christoph Schwartz for the private chapel of Renée of Loraine, wife of Duke William V of Bavaria. This altar piece made of nine copper panels has been destroyed during the 19th century. The Crucifixion panel once in the centre of the altar piece is the only one that survived and is today kept in Munich's Alte Pinakothek. On the left door appears Saint Francis receiving the stigmata. The inscription says : « Signastidomine Servum Tuum. Franciscum. Signis Redemptionis Nostrae ». This Renaissance cabinet with an architectural decor appearing as much in the structure faithful to Antique rules...

Antique walnut trumeau, with curved and carved doors, complete with internal shelves and moved drawers, built and sculpted entirely by hand by an artisan in the 18th century in Italy, from Piedmont, measuring cm W 126 x H 247 x T max 54. Very beautiful and elegant, it has a flap opening for a desk and then 3 drawers, very containing, refined and of great classic antique taste.

Late 18th century cabinet from Shanxi, China. Original red and black lacquer with a light clear surface finish, which highlights the lovely natural patina. Pair of bi-fold doors wi...

This highly important secrétaire-cabinet was crafted for and specially ordered by King George I for the British Ambassador to Russia. From its craftsmanship and materials to its exceptional artistry, it is a work of royal and historic significance that exudes power in each and every detail. The broken pediment at its apex features the simplified royal coat of arms bearing the king’s crown, while the interior is adorned by portraits of the British Royal Family. Placed within the ambassador’s St. Petersburg home, this entirely unique piece of furniture would have been a potent reminder of England's grandeur and political importance. Relations between England and Russia during this period were at an all-time high. Peter the Great had traveled to England in 1698 as part of his widely known “Grand Embassy” tour, wherein he attempted to gain foreign support against the Ottoman Empire. He spent a period of nearly four months there, meeting with King William III and his court on numerous occasions. Noted academic Arthur MacGregor wrote concerning the impact of the trip, “For two decades following Peter's visit, British influence in Russia reached a peak. It manifested itself in social custom, in craft practice and in ships and naval organization... it reached a significant sector of the population before relations cooled once again and the two nations pulled back from this era of unprecedented cordiality.” First and foremost, however, it is a reminder of British might and influence. By the reign of King George I, England had come into its own as a world power. Unique in its design, this cabinet is a reflection of the country’s might. It is crafted from the highest-quality solid walnut and burr walnut adorned by gilded lock plates and engraved hinges. The presence of ormolu at its apex and lining the doors was a rarity for this period, and its addition makes manifest the importance of the design. The outer doors open to reveal multiple interiors, including fifteen separate drawers around a central cupboard; the cupboard doors each bear mezzotint portraits of George I and his father, Ernest Augustus, Elector of Hanover. An etching after the portrait of George I dating to circa 1716 is in London’s Royal Academy. A second, inner pair of doors are adorned by mezzotints of the Prince and Princess of Wales (later Queen Caroline and George II), which are both after portraits by Sir Godfrey Kneller dated 1716 in the Royal Collection. A final portrait is revealed on the very interior of the cabinet, where a mezzotint of Frederick, Anne, Amelia and Caroline, children of the Prince of Wales, resides. An etching (circa 1715-1720) after this portrait can be found in the National Portrait Gallery (London). Apart from its abundance of royal portraiture, the cabinet features stunning painted decoration, including floral designs as well as clouds, birds and trees in a bucolic motif reminiscent of Eden. Its lower portion is a study in both form and function, featuring a fitted secrétaire-drawer above three additional drawers for storage. The cabinet appears in The Shorter Dictionary of English Furniture by R. Edwards from 1964, a text that is regarded as the bible of British furniture design. Edwards describes it as a “writing cabinet...given by George I to the British Ambassador at the Russian court.” The cabinet was likely made for the 18th-century German diplomat and writer Friedrich Christian Weber, who represented English interests at the Russian court from 1714 until 1719. Although Weber’s tenure as ambassador was relatively short, while in St. Petersburg, he authored his account entitled Das veraenderte Russland (The Present State of Russia), which was published in three volumes in 1721, 1739 and 1740. It may, however, also have been made for George Douglas, 2nd Earl of Dumbarton, who served as ambassador alongside Weber in 1716. Diplomatic relations ceased between the two countries in 1721. In 1928, the cabinet appeared for sale at the International Exhibition of Antiques & Works of Art in Olympia. It had previously been in the collection of the Woltner family of Bordeaux, the celebrated vintners who owned the estate Château Laville Haut-Brion and produced wine of the same name. According to the family, Monsieur Woltner was given the cabinet as a gift from an aunt who lived in Russia for many years. After leaving the Woltner collection, the cabinet was acquired by William Berry...

Rectangular top over a pair of paneled doors enclosing adjustable shelves, raised on turned feet and original casters. Provenance; Norman Adams Ltd. Londo...

With double arched top over a pair of arched mirror doors opening to a red interior fitted with drawers and shelves, the base with slant lid des...

- Particularly fine example with deep cushion and geometric mouldings. - Atmospheric piece with character - Secret drawers add intrigue A rare mid-17th century oak and cedar spi...

This bleached oak armoire was made in the Netherlands, circa 1780. It features an ornamented crest, popular in eighteenth and nineteenth-century Dutch furniture, with a scallop shell...

Collection Jean Thuile Around the mid-sixteenth century French furnishing evolves in its conception and ornamentation. The start of major archi...

A French Provincial cabinet of cupboards and drawers. Doors decorated with floral urns. Bead design around doors and drawers. Brass hardware,...

The cabinet’s upper body, slightly recessed is topped by an overlapping entablature and cornice supported both in the front and the rear by four fluted columns. The lower body stands on four squared feet and a moulded base. Each door-leaf’s panel is centred by a low-relief carving presenting one of the four evangelists...

An exceptional English Sheraton period satinwood secretaire cabinet. Attributed to Gillows. Late-18th century, George III, ca 1790. Measures: H 59 1/2’’ (151 cm) W 30’’ (76 cm) D 19’’ (49 cm). This small, beautifully-proportioned, and sophisticated antique writing cabinet...

A 18th century "Hamburg Schapp". Walnut veneered on oak. In the second half of the 18th century, the first "Schapp" were created in northern Germany for the entryways of wealthy m...

French 18th century buffet confiturier.

Lacquered and threaded cabinet, with interior shelving. Originally the top of a trumeau. Period: 1700 Rif. 432 (D,SF) SM - SD  

On the left post of the lower body, is written the date 1596 in a cartouche This cabinet has two bodies. The upper part, set back, is moulded and carved. At the bottom, the cabine...

A French wood chest of three drawers, with beautiful veneers and inlay, from the 18th century. This antique commode from France was designed in nice ...

Provenance : Chabrières Arlès collection then through descent Under the reign of Henry II, during the French Renaissance, the rigour of composi...

Original 18th century Liège wardrobe. Rare version in cherry wood. Dismountable corpus with sloping rounded pilasters and heavy cornice with cranked profile. Two doors hung on ext...

Georgian mahogany bedside cabinet A late 18th to early 19th century Georgian mahogany bedside cabinet. The cabinet has a left hand opening door and a tray shaped top with cut o...

Prototype and creation of Jaime Exposito for M.F.I. unique piece made in the 1980s. Piece of furniture "Pyramid" Central part with sliding door with lateral opening and equipped wit...

Large trumeau supported by carved cantilever feet, in the lower body it has three drawers plus one of reduced dimensions flanked by two drawers to support the upper opening flap door and concealing...

This unique buffet deux corps was hand-carved from walnut wood in France during the Louis XIII period (1600’s). A buffet deux corps (literally “two body buffet”) is a two-tiered cabi...

18th Century Georgian Mahogany Bureau A small 18th century Georgian mahogany bureau. The bureau has original gilt brass rococo shaped handles and keyhole escutcheons. The bu...

Rare and well-preserved 16th century cupboard / cabinet. Detailed carved top section depicting a floral leaf design and people in polychrome lacquer. Front with red lacquer, pair of ...

Rectangular top with bowed center with conforming lower drawers and cabinet doors. Plinth base.

Tallboy supported by carved shelf feet, in the lower body it has three drawers plus the same number in the upper body, surmounted by two other small side-by-side drawers; the upright...

Condition : Partly dating from the Renaissance. The backs and the drawer’s insides have been re-done. Historical background The 16th century is a prosperous period for Lyon...

Antique coin cabinet in ebonized wood with rare semi-precious stones and gilded bronzes, 18th century. Dimensions: 71x122x36cm Good condition - used with ...

18th century French Provincial Bonnetiere, likely Brittany, a stepped crown over a single door with large exposed hinges, a lower drawer, raised on with a wide stepped base, the fron...

Original lock and key This piece of furniture shows no recess on its upper part. It opens with four folding-doors and two drawers within the belt. The key bears the date 1524 above cross motifs. Burgundy and Lyon regions subordinated themselves to architecture in a different manner than the other french schools. Rather than using particularly columns and pediments pieces of furniture from Lyon borrow architecture’s organization principles and rigorous designs. On the upper body a strong feeling of balance and symmetry appears with the folding doors reliefs. Swags of flowers and fruits held with knot cloth centered by a man seating on his arms. Here profiles, masks and chou de Bourgogne mingle with the structuring scrolls. The two lateral terms wear draperies and the goddess Diana in the center wears a belt of fruits similar to Hugue Sambin’s designs (Termes de Diane et de Venus, 1554, BNF). The two palm-leaves enriched drawers and the alternating scrolls belt balance the weight of the cornice with its alternatings consoles and tops. The lower body is also adorned by three terms with a feminine one in the center, all three are wearing fruits on their heads. The folding doors are centered upon a motif of cut cuirs by a mask in high relief. Wearing a feathered tiara...